Between Judaism and Christianity: Art Historical Essays in by Katrin Kogman-Appel, Mati Meyer
By Katrin Kogman-Appel, Mati Meyer
The 19 essays assembled during this Festschrift symbolize the multiplicity of pursuits obtrusive in Elisabeth (Elisheva) Revel-Neher's paintings. They disguise various topics facing pictorial messages encrypted in quite a few inventive media, and tackle a vast array of subject matters: Jewish id within the past due old interval; patronage in past due old Jewish and Christian spiritual structure; Jewish-Christian polemics and the illustration of the 'Other'; the query of Jewish or Christian illuminators of Hebrew books; the cultural heritage of illustrations in Hebrew manuscripts; Christian cosmology and dogma; the imagery of the Temple within the chapters; and, Jewish and Christian perceptions of women.The individuals are Rivka Ben-Sasson, Walter Cahn, Evelyn Cohen, Andreina Contessa, Eva Frojmovic, Lihi Habas, Dalia-Ruth Halperin, Colum Hourihane, Emma Maayan-Fanar, Herbert L. Kessler, Katrin Kogman-Appel, Shulamit Laderman, Mati Meyer, Bezalel Narkiss, Kurt Schubert, Sarit Shalev-Eyni, Margo Stroumsa-Uzan and Rina Talgam.
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Extra info for Between Judaism and Christianity: Art Historical Essays in Honor of Elisheva (Elisabeth) Revel-Neher (The Medieval Mediterranean, Volume 81)
Psalm 137:3 refers to the Babylonians as “captors,” and the great prophetic book of the exile, Second Isaiah describes Babylon as a “furnace of affliction (Isa. ” The main cause for distress among the exiled Judeans was the fact that they were being exposed to idolatry. Jeremiah 50:38 makes it clear: “. . ” It is against this background of idolatry that Psalm 137 should be understood: “By the rivers of Babylon we sat down and wept as we remembered Zion . . How could we sing the Lord’s song in a foreign land?
51 The fourth-century CE mosaics at Lod demonstrate a further development:52 the artists there reverted from the long-established composition of pictorial panels in the mosaics of the third century, which reflected the Antiochene tradition, to motifs and compositions from the mosaics in the Roman West, particularly those of North Africa. In conclusion, the early fifth-century CE mosaics from the Nile Festival Building at Sepphoris represent only one link in the longer chain denoting the development of the region’s mosaic art.
M. (1979), “A Roman Mosaic Pavement from Nablus,” Israel Exploration Journal 29 (1979), 11–33. Di Segni, L. ,” in: The Roman and Byzantine Near East, II, ed. J. H. Humphrey, Journal of Roman Archaeology Supp. 31 (Portsmouth, RI: 1999), 149–178. ——. (2002), “Appendix: Greek Inscriptions in the Nile Festival Building,” in: The Roman and Byzantine Near East, III, ed. J. H. Humphrey, Journal of Roman Archaeology Supp. 49 (Portsmouth, RI: 2002), 91–100. Dodd, E. C. (1961), Byzantine Silver Stamps (Washington, DC: 1961).